Anouar Brahem

來(lái)自北非突尼斯的Anouar Brahem是當(dāng)代最杰出的奧德琴演奏家之一，曾師從突尼斯奧德琴泰斗Ali Sriti多年，長(zhǎng)期浸淫阿拉伯民間音樂(lè)，從事奧德琴演奏已有20多年的歷史，足跡遍及中東及歐洲諸國(guó)，并于1990年加盟ECM，與旗下著名藝人Jan Garbarek、John Surman、Dave Holland 等有過(guò)廣泛合作。這張唱片是由Anouar Brahem 領(lǐng)銜的，包括手風(fēng)琴家Jean-Louis Matinier 和鋼琴家Francois Couturier在內(nèi)的一支三重奏組演奏Brahem創(chuàng)作的 'Le pas du chat noir' – 這是融合了阿拉伯傳統(tǒng)音樂(lè)、西方古典音樂(lè)和爵士樂(lè)元素等的一組音樂(lè)樂(lè)曲，被當(dāng)?shù)氐乃囆g(shù)評(píng)論家形容成"一部非常熱情的美麗的音樂(lè)樂(lè)曲"。這張專輯體現(xiàn)了Anouar Brahem作為一個(gè)作曲者的才華。音樂(lè)動(dòng)人、疏淡而控制得宜，正如Anouar Brahem自己所說(shuō)，“一半的魔力在于那些空白的時(shí)刻。”音樂(lè)中清冽的鋼琴音色凌空而起，與在手風(fēng)琴的呼吸中，與奧德琴的溫暖琴聲交織。
The role of the Arabic, lute-like, stringed instrument, the oud, has been revolutionalized through the playing of Anouar Brahem. While used in the past to accompany vocalists, the oud is used by Brahem as an imaginative solo instrument. In 1988, Tunisian newspaper, Tunis-Hebdo, wrote, If we had to elect the musician of the 80s, we would have, without the least hesitation, chosen Anouar Brahem. The British daily newspaper, The Guardian, that Brahem was at the forefront of jazz because he is far beyond it.
Encouraged by his music-loving father, Brahem began studying the oud, at the age of ten, when he enrolled at the National Conservatory of Music. For nearly a decade, he studied with influential oud player Ali Sitri. By the age of fifteen, he was playing well enough to perform regularly with local orchestras. Although he initially focused on Arabic music, Brahem increasingly incorporated elements of jazz. This was enhanced during the six years that he spent in Paris (1981 — 1987), performing at festivals and collaborating with choreographer Maurice Bejart on a production, A Return To Carthage that received the prestigous National Award Of Excellence In Music.
Returning to Tunis in 1987, Brahem performed at the Carthage Festival in the multi-artist production, Ligua 85. Shortly afterwards, Braham agreed to become director of the Ensemble Musical De In Ville De Tunis. During the two years that he oversaw the ensemble, Brahem divided the group into smaller of various sizes. Among the productions that he directed were Leilatou Tayu and El Hizam El Dhahbi.
In 1990, Brahem resigned to focus on his own career. After touring in the United States and Canada, he met and was signed by Manfred Eicher, producer and founder of German record label, ECM. His debut album, Barzakh, released in 1991, was recorded with Turkish musicians, Bechir Selmi and Lassad Hosni. In a review of the album, German music magazine, Stereo, wrote, (Brahem) is an exceptional musician and improviser. Brahems second album, Conte De Lincroyable Amour, released in 1992, was recorded with clarinet player Barbaros Erkose. In 1994, Brahem recorded Madar, with Norwegian saxophonist Jan Garbarek and Pakistani tabla player Shaukat Hussain. Brahems fourth album, Khomas, released in 1995, featured improvised interpretations of his compositions for Tunisian film and theater productions and was recorded with accordion player Richard Galliano and violinist Bechir Selmi. With his fifth effort, Thimar, released in 1998, Brahem collaborated with soprano saxophone and bass clarinet player Jo n Surman and double bass player Dave Holland. Astrakan Cafe was issued three years later.
Brahem has composed numerous pieces for such films and musical theater productions as Sabots En Or, Bezness, Halfaouine, Les Silences Du Palais, Lachou Shakespeare, Wannas El Kloub, El Amel, Borj El Hammam and Bosten Jamalek. He collaborated with Maurice Bejart on the ballet, Thalassa Mare Nostrum and with Gabriel Yared on the Costa Gravas film, Hanna K.